Ladyhawke

In this photo, Ladyhawke's 2009 pedalboard can be seen. One of the pedals that can be seen on the photo is the Boss SD-1 overdrive.

In this photo from Brown's Instagram we can see her entire pedalboard and a Boss DS-1 in it.

In this photo, Ladyhawke's 2009 pedalboard can be seen. One of the pedals that can be seen on the photo is the Boss DD-3 delay pedal.

We can see Boss TR-2 tremolo pedal on this Instagram photo. Brown regularly used TR-2 during recording her second album.

In this photo, Ladyhawke's 2009 pedalboard can be seen. One of the items that can be seen on the photo is the Boss BCB-60 pedalboard.

Owned in childhood and later used for "[a]ll the guitars" on Anxiety, as known from the following sources:

Universal Music Group (Deutsch), "Biografie Ladyhawke"

Insgesamt klingt “Anxiety” daher sehr viel runder und persönlicher, sehr viel mehr nach Pip, die hier viel genauer ihr Terrain absteckt und zeigt, was sie kann und wie sie tickt. Einige ihrer schlichten und zugleich massiven Beats entstanden beispielsweise auf E-Drums, programmiert jedoch mit analogen Sounds von einem „echten“, wenn auch alten und quasi schrottreifen Schlagzeug, die sie selbst eingespielt hatte, wodurch die Beatteppiche irgendwie halb wie von Menschenhand gemacht, halb wie aus der Konserve klingen. Ihre Gitarrenaufnahmen wurden ebenfalls durch diverse Effekte geschickt, so z.B. auch durch einen russischen Big-Muff-Verzerrer, genau das klassische Modell, auf das auch Kurt Cobain, Billy Corgan und natürlich auch Mudhoney geschworen haben – wie unschwer zu erkennen am Titel ihres Grunge-Meilensteins „Superfuzz Bigmuff“.

The World, March 2012, "Ladyhawke: Walls and Bridges" by James Medd

The difference is that, in place of the walls of synthesizer, there's a whole load of Big Muff fuzz.

The Music, "Hawkers Welcome" by Chris Yates (May 30, 2012)

“The way I went about doing the drums and guitar and everything was a lot more lo-fi and gritty than it was the first time around. For the drum sound, we got the shittiest drum kit in the room and put tea towels on the toms and snare. We set up all these really old '50s and '60s mics all around it and just recorded the drums for ages. All different drumbeats and fills, and then we used all those sounds for the whole album. All the sort of bloopy kind of electronic sounds were all done with a Korg K-Oscillator. All the guitars were played through a Sovtek Russian Big Muff, which is a vintage fuzz pedal.

WiMP Bloggen, "Ladyhawke: It insults me when people try to dress me up" (June 27, 2012)

What is about that distorted guitar sound you like?

»When I was thinking about the second record, I knew exactly what guitar sound I wanted to use. As a teenager I had this big green industrial pedal from Russia called Big Muff – it was the pedal you used when you wanted to have that grungy sound – and I wanted to recreate that.«

Viva, "Favourite Things: Ladyhawke, Musician" by Rosie Kelway (March 8, 2016)

1. Sovtek big muff

This pedal is special to me because I found it on eBay and it ended up shaping the entire sound of my second record. Pascal Gabriel, who produced the album, had one in his studio and I'd obsessed over it for years.